• 한국조경학회지
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• 제36권1호
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• pp.90-102
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• 2008

This paper has aimed to determine how the Suwon Palkyong(水原八景: eight scenic wonders) were formed and the implicature of landscape, such as implicit intention and symbolic significance. For this, the significance and symbolic meaning of the Suwon Palkyong from the time of the 'Hwaseong Chunchu Palgyeong(華城春 秋入景)' have been investigated in order to determine the political and social arguments in Suwon Palkyong that surrounded the formation process and meaning. The 'Hwaseong Chunchu Palkyong' contains a variety of significant elements and factors of Pungmul(Korean drum & dance) as well as formative elements such as a castle. Plantings for beautiful scenery and water use for flood control have also been major elements in the development of Hwaseong. Therefore, it seems that the 'Hwaseong Chunchu Palkyong' is a catchphrase for the future image of the urban landscape. Most Suwon Palkyong sites such as Paldalsan, Namje, Yungneung, Manseokgeo, Chukmanje, Hwahongmun, and Yongji(a pond in Banghwa Suryujeong) are related to the 'Hwaseong Chunchu Palkyong'. 'Gwanggyo Jeokseol(光敎積雪: the landmark mountain, Mt. Gwanggyo with snow)' and 'Paldal Cheongnam(八達晴嵐: Mt. Paldal with shimmering air)' have also been added to Suwon Palkyong. Suwon Palkyong is either directly or indirectly related with water including the origin of Suwoncheon(水原川), an artificial reservoir for flood control and irrigation and Bibopungsu in Yungneung(隆陵), as well as the source of water for rituals after the death of King Jeongjo(正祖大王). Based on Suwon Palkyong, therefore, it can be said that water is a decisive medium in connecting old Suwon with Hwaseong New Town and essential element in the natural landscape. In conclusion, while Hwaseong is a 'Designed Landscape' that was created with a specific intention during the reign of King Jeongjo, the 'Hwaseong Chunchu Palkyong is a 'Desired Landscape' that envisioned a future landscape while Suwon Palkyong is an 'Evolved Landscape' related to the business affairs of the citizens. To completely restore Hwaseong, whose value and importance have been recognized internationally, therefore, the fundamental restoration of a cultural landscape as well as the restoration of the original form of the Hwaseong landscape including Suwon Palkyong is essential.

• 한국조경학회지
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• 제22권4호
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• pp.43-62
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• 1995

This paper is to define what characteristics of modern landscape architecture are in terms of garden design. It is important to understand the characteristics of modern landscape architecture, not only for practical design works but also for design ideology. The characteristics were investigated by anlayzing several crucial drawings of modern landscape architects from the later ninteenth century to the early twentieth century. It is found that modern landscape architecture had been evolved after Neo-classicism in its design language, use of materials and principles. And modern landscape architecture was formulating its own design language not only by borrowing the language from other design fields, such as modern architecture but also by making own vocabulary itself the characteristics of modern landscape architecture were defined as collapse of genre, organic structure, pictorial composition, change of living thing, including those of modern architecture. Modern landscape architects drew their humanistic image on "the garden palette" which pursued artistic sense of creation.

• 기술사
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• 제18권2호
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• pp.54-65
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• 1985

Korean Landscape Garden may be described according to its stage of development. In the primitive agricultural era, the garden was preceded by vegetable yards and at this time rock arranging (Soo-Sok garden) was initiated together with the megalithis culture of dolmens, heavenly altars and tumuli. In the early Three Kingdom period palace gardens were built on a grand scale and toward the end of fourth century temple garden were introduced along with Buddhism. These gardens evolved to the flourishment of "HWAGE"(terraced gardens) rock arrangements of ZEN, early KOR-YO period. Especially since the middle of KOR-Yo period the "IM-CHUN"(forest and pond) garden became popular, while during Cho-Son period "HWAGE" in the back yard, pond and pool garden and "IM-CHUN" style country villa became fashionable. The Korea traditional Landscape garde may be characterized that first it is a nature Landscape style, which makes the maximum accomodation with the surrounding nature. Secondly, the Korean garden is built creatively by utilizing the elements of its climate and topography, Kogu-Ryo, Paik-Je great-Kaya and Sil-Ra had developed original a castle town plans and beautiful gardens rock arrangements which precede the equivalent style of China and set the prototype for Japan. The Landscape art of waterfalls and rock arrangements at An-Ap-Chi garden of 7th century has no equals in China and set the origin of pond style of Japanese garden.

• 한국조경학회지
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• 제26권2호
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• pp.1-14
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• 1998

The purpose of this study is to find out how the urban landscape of Korea, especially Seoul, changed during the last half century since 1945. The modernization of Korea, which had begun in 1960's after the chaotic period caused by Korean War, influenced the rapid growth of cities and the radical changes of its structures. But the Western-minded planning theories based on rationalism and positivism was directly applied in developing our traditional cities and consequently the modern urban landscape including urban pattern, architectural style, and commercial and residential landscape revealed disharmony, discrepancy and inconsistency in skylines, streetscape and so on. The findings are summarized as follows. 1. Because the urban structure and pattern changed in undesirable manner in terms of land use and traffic circulation, cities as a whole resulted in exclusive and heterogeneous landscape, and citizens lost their identity and felt alienated. 2. Because the architectural forms of important and monumental buildings which influenced the character of streetscape were not so successful in inventing contemporary Korean Style in true sense, we still have difficulty in creating the urban landscape of originality and legibility. 3. Because from the beginning of this era almost all highrise buildings were designed by modernism-oriented western architects, the commercial landscape of central cities did not evoke a sense of place, and after the introduction of postmodernism this tendency is ore striking even in everyday ordinary streetscape. 4. The newly formed residential landscape which was mainly composed of highly dense and highrise apartment, not only evolved very overwhelming and ugly visual impact but also exposed many social problems in living condition, neighboring and face-to-face contact. In conclusion, in ordr to define the 'Koreanness' of our urban landscape, we have to struggle to combine traditional architectural heritage and native townscape with Western shape, thought and theory, no matter how difficult it may be.

• 한국조경학회지
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• 제33권5호통권112호
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• pp.104-113
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• 2005

This landscape design proposal was presented for a competition for mixed-use development project by project financing in Asan Baebang which was held by the Korea National Housing Corporation in July of 2005. The site is a center of Asan Baebang New Town Development District and has a commercial area of $57,929m^{2}$. Design guidelines and judging criteria of this competition were to build a symbolic center and cultural core for district, to elevate positive image and identity of Asan New Town by attractive place making, to link with separated block in the site and regional context, and to make environmentally sustainable design by creating an attractive waterfront of Jang Jae stream passing through the site. This is the most important condition for the design. Therefore, the authors developed design concept and strategy within the guidelines and this conditions. The schema of the design was introduced by the water in the site. To evolve design concept, we reinterpreted water and context in the site combining with landscape design strategy. So the proposal set the main design concept as 'all that is solid melt into water' as if Marshall Berman said. By doing that, design concept of the proposal evolved as follows: 'extension' of water and greer, 'a joint' of space,'newness' of experience, 'breath' of consensus with each other. The spatial concept of this project was developed by expressing five theme spaces; eco zone, entertainment zone, art zone, culture zone, leisure zone. These theme spaces were consecutively placed along the pedestrian path and to consists of vertical layer in each level and diverse design technique and spatial effects are used.

• 한국조경학회지
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• 제33권4호
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• pp.143-154
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• 2005

The Seoul Housing Corporation pronounced a design competition for Eunpyeng New Town District 2 in March of 2005. The authors collaborated on this design and won rot prize. Design guidelines of this competition were to make environmentally sustainable design, to develop as a resort site and cultural place for everyday life of residents, to link with green fabric of the district, and to elevate positive image and identity of Eunpyeng New Town district by creating a attractive landscape. The authors developed design concept and strategy within the guidelines and site conditions. The environmental setting of this site was characterized by mountain to the rear of the site with a stream passing through the district and the front of the site. This is the most important condition for the location principle of residence in Fung Shui theory. Therefore, the schema of the design was introduced by Fung Shui and Chi of place. To evolve design concept, we reinterpret the Fung Shui and Chi in the site combining with modem landscape design strategy, so that good place making could bring about well-being life of residents. By doing that, design concept of the proposal evolved as follows: 'fullness of comfortable life', 'adaptation of nature', 'inspiration of natural force'. This design approach is critical reevaluation of regional characters employing modem strategy. It is a conscious strategy of critical regionalism as distinguished from the traditional site oriented approach. The following are some of the major features in the design: green network and water recycle system in the site, promenade of forest with the experience nature, link to community core, theme gardens with plants having strong fragrances, terrace gardens with different level of housing type, playgrounds and resting places with many types, human scale facilities for residents.

• Journal of the Korean Institute of Landscape Architecture International Edition
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• 제1호
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• pp.167-175
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• 2001

After World War II, Japan experienced a great political and social shift, which brought a concern of emerging public landscape in urban development. This paper analyses the management of the aesthetic intentions in urban design effort. We reviewed the development of various public installation of artworks concerning urban landscape aesthetics through its administrative process in chronological order. The monuments during the first decade marked a shift in emphasis from the militarism of the pre-war and wartime period to one of peace. However, some of the monuments and sculptures are not immune to controversy. This became an issue that could no be ignored by public officials whose responsibility was to place the sculptures while maintaining sensitivity to public opinion. As public administrators began to consider the possibility that sculptures may contribute to improving public amenities, the contextual concepts were basically ignored. Some of the programs in 1970s began to show more respect to the context, while other programs in this period expressed more interest in educational aspects of sculptures in the public spaces. Urban development projects also seek to introduce artworks integrated to their urban design concepts in 1990s. Generally, the administrators responsible for these programs were rarely trained in any relative field study other than public administration. Installing sculptures tended to be considered as part of public works projects on the level of urban planning and construction. The general public is basically removed from participating in the critical decisions that actually impact their lives in relation to the artworks. In conclusion, public art in japan has unique social and historic background both in its advantages and disadvantages. Issues pertaining to art in public spaces have evolved over the decades as the term "sculpture pollution" began to appear by the mid 1990s. most of the problems originated in either the lack of monumentality, contextual consideration, quality, or public participation. From another point of view, these programs played great roll in the development of modern Japanese sculpture and patronizing process, and the creation of new urban landscape with aesthetic value. In this sense, they must be considered as successful and noteworthy examples of cultural administration and urban design policy.

• 한국조경학회지
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• 제45권4호
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• pp.118-130
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• 2017

조경 설계 과정에는 설계안을 시각화하는 다양한 종류의 드로잉이 제작된다. 이 연구는 조경 드로잉의 특성과 역할을 부단히 탐구해 온 제임스 코너의 재현 이론과 실천의 전개 과정을 면밀히 검토한 논문이다. 코너는 1990년대 초반부터 발표된 이론적 저술에서 드로잉이라는 시각 이미지는 경관의 다감각적 특성을 온전하게 담아내기 힘들고, 따라서 조경 드로잉은 경관의 외양을 사실적으로 그려내는 방식, 즉 도구적 기능보다는 경관의 다감각적 특성을 대안적으로 보여주고, 설계 과정에서 아이디어를 생성하는 상상적 역할을 담당해야 한다고 하면서 새로운 시각화 테크닉의 실험을 주장했다. 코너의 재현 이론은 1990년대 중후반 설계 실천에 적용되면서 실천적 이론으로 진화했다. 코너는 생태학을 수용하고, 랜드스케이프 어바니즘이라는 실무 작업을 전개해가면서 드로잉의 도구적 역할에 다시 주목했다. 이전에 코너가 콜라주와 몽타주를 이용하여 상상적 역할을 수행하는 퍼스펙티브 뷰를 지지하는 경향이 있었다면, 1990년대 후반의 이론과 실무 작업에서는 도구적 기능을 수행하는 맵을 기반으로 하되, 이를 상상적으로 변형하는 맵핑 테크닉을 강조했다. 이와 같이 코너의 저작은 조경 분야의 본질을 파악하여 드로잉의 특성과 역할을 체계적으로 이론화했고, 나아가 이론과 실천의 상호작용을 보여주고 있다는 점에서 현대 조경 설계에도 여전히 귀감이 되고 있다.

• 한국조경학회지
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• 제52권4호
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• pp.18-31
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• 2024

본 연구는 유네스코 세계유산으로 등재된 121개 문화경관의 등재 경향과 특성을 종합적으로 분석하여 문화경관 유산의 특성과 가치를 이해하고, 향후 문화경관으로 등재할 유산의 선정 기준과 등재 방안을 모색하는 데 목적이 있다. 이를 위해 UNESCO 세계유산센터 홈페이지에서 제공하는 공식 문서와 데이터베이스를 바탕으로 각 문화경관의 기본 정보와 속성 정보를 수집하여 기술통계 분석을 실시하고, 분석 결과를 보다 입체적으로 이해하기 위해, 도출된 주요 경향성과 관련된 개별 문화경관 사례를 추가적으로 검토하였다. 분석 결과, 문화경관은 유럽과 아시아에 집중되어 있으며 1992년 이후 등재 건수가 꾸준히 증가해 왔음을 확인하였다. 문화경관은 인간과 자연의 상호작용을 반영한 경관의 독특성, 전통문화와 토지 이용 방식의 중요성 등을 인정받아 주로 등재기준 (iv), (iii), (v), (ii)를 중심으로 등재되고 있다. 또한 문화경관은 크게 의도적으로 설계된 경관, 유기적으로 진화된 경관, 연상적 경관 등 세 가지 유형으로 구분되는데, 그 중에서도 농업, 산업 등 인간 활동과 자연환경의 장기적 상호작용을 통해 형성된 유기적으로 진화된 경관이 큰 비중을 차지하고 있다. 이러한 분석 결과는 세계유산 문화경관이 자연과 문화, 유형과 무형, 물질과 비물질을 아우르는 복합적 가치 체계를 지니고 있음을 시사한다. 이는 문화유산 인식과 보전 방식에 근본적인 전환을 요구하는 것으로, 개별 요소가 아닌 전체적 맥락을 중시하고 경관의 동적 변화 과정 자체에 주목하는 통합적 접근을 필요로 한다. 나아가 문화경관은 지속가능한 발전 모델로서 지역 정체성 확립, 공동체 회복력 강화, 지속가능한 경제 발전 등에 기여할 수 있는 잠재력을 지니고 있다. 따라서 문화경관의 보전과 관리에는 경관의 역동적 진화 과정을 총체적으로 조망하는 관점과 지역 공동체와 이해당사자들의 적극적 참여에 기반한 거버넌스 체계가 요구된다. 본 연구는 문화경관의 특성과 가치에 대한 심층적 이해를 제고하고, 향후 문화경관 유산의 선정과 관리를 위한 기초 자료를 제공한다는 데 의의가 있다.

• 한국환경복원기술학회지
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• 제21권3호
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• pp.67-81
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• 2018

We tried to analyze qualitatively a total of 110 the research papers which were related domestic ecological restoration technologies about 15 years through semantic network analysis in social network analysis. In order to understand the research trends of ecological restoration technologies, we analyzed the degree centrality and betweenness centrality of the Stream/Wetland, Slope, Soil/Others fields selected as Word Cloud. As a result, ecological restoration technologies have been changed. They were focused on the restoration of species or their habitats in the past. However, they have been evolved into the detailed systems to respond in unpredictable natural disasters and climate change, high-resolution image implementation technology to accurately grasp the practical environment and methods related to environmental restoration for human in urban ecosystem. In the future, investment and technology for the ecosystem restoration field will be continuously demanded for the symbiosis of human beings and species in the damaged ecosystem. Therefore, the research trend of ecological restoration technologies should be provided as reliable guidelines when decision makers establish the policy direction or when researchers select their subjects.